"The Rocky Horror Show" phantoms performing a scene at the Eagle Theatre.

HAMMONTON — We've all been cooped up at home fearing the effects of Hurricane Sandy. And if you’re anything like me, you’re sick of passing time by making forts out of Top Ramen packages and tuna fish cans or cooking or making home videos.

Make sure you read the title carefully: “Rocky Horror Show,” not to be confused with the cult-classic-midnight-movie-theater-event “Rocky Horror PICTURE Show.” And though the stage production at the Eagle Theatre does not utilize the film, it freshens up the classic music and finds the heart of the show in a way the film-event cannot.

I’ll admit, I was a little tepid about tainting my love of “Rocky Horror” with a version that isn’t acted poorly in front a grainy screen while singing along in a smelly movie house with fellow drunk lunatics. This production, however, keeps the audiences’ rights to call out responses to the famous lines and offers prop-bags of confetti, cards and newspapers.

One of the immediate effects that make this a more enjoyable experience than the film event — for me, at least — is that when the responses are shouted by the audience to the actors, the actors show off their perfect improvisational skills, yet keep in character, and help play off the responses.

The cast is small but vibrant. None of them attempt to copy the film. And after a powerful opening of soloists on “Science Fiction/Double Feature,” we’re introduced to Brad (Bryan Mead) and Janet (Jennie Knackstedt). They keep it simple — but we see (rather, hear) that they have powerful vocals. Later, when it’s Brad’s turn to sing “Once in a While,” and Janet’s turn in “Rose Tint My World,” we see the depths of their talent and command of the stage.

Ed ‘Rico’ Santiago clears our memories of Richard O’Brein’s Riff Raff, offering a more demeaning character, still with a heart, planning a coup to return he and Magenta — played with a gregariously enjoyable energy by Rachel Pinkstone-Marx — to their planet of origin. Santiago has one ear on the fellow actors and musicians and one ear on the audience — acting the scene and seamlessly improvising to the responses, craftily keeping the character, however, in both worlds.

When we’re introduced to Santiago’s Riff Raff, we’re also introduced to an electrifying Columbia from Samantha Morrone, and a small chorus of wildly seductive Phantoms. When the first big chorus number “Over at the Frankenstein Place” ends, we’re left with a chill from the line “There’s a light in the darkness of everybody’s life,” like we hear it for the first time. Maybe it’s the tight musical direction by Tom Abruzzo, or Ed Corsi’s refreshing direction, or the fact that it’s happening live in the theater — but it’s our first indication that we’re in for a more meaningful experience.

Next, we’re sucked into the world of the character we’ve all been waiting for: Frank N Furter. From the moment he enters until his last line, little to none of what Josh Bessinger says, sings or does, fails to receive applause. We can’t help it. He gets it. He feels it. He feels the heart of the character — most importantly — deep inside, blurring the gray area between reality and theatre. It’s a talent all actors strive for, but few attain.

In the end, Bessinger’s Frank N Furter delivers a powerful “I’m Going Home,” backed up by the powerhouse cast — without one weak spot — and beckons us to understand him. And we do. We see a new Frank N Furter, a new cast and a new generation of “Rocky Horror,” with a new energy. We want to cry when we see Frank N Furter’s desperation, when he sings of his sorrow and his pain.